DIS Shareholders and Stock Info ONLY

https://variety.com/2024/tv/news/tv...s-rollbacks-streaming-advertising-1236023899/

TV’s Upfront Ad-Sales Talks Start to Heat Up, With Some ‘Rollbacks’ Expected

June 3, 2024 - 2:32pm PDT
by Brian Steinberg

Talks between TV networks and advertisers have begun to simmer in the entertainment industry’s annual “upfront” marketplace, though it’s not clear if activity will immediately boil over.

Some of the sector’s big media agencies have placed early focus on both Disney and NBCUniversal, according to four people with knowledge of these annual negotiations for billions in advertising deals struck between the networks and Madison Avenue. Those two aforementioned companies have the broadest portfolios of high-quality entertainment, these executives say, that encompass sports, news, entertainment and more.

During the annual “upfront,” media companies try to sell the bulk of their commercial inventory — usually as much as 70% to 80% — ahead of their next cycles of programming. During the market, TV networks and streamers try to notch “commitments” worth millions of dollars from some of the nation’s biggest advertisers.

Disney has made a noticeable push to drive digital volume, some of these people say, offering favorable rates for Hulu and, in particular, Disney+. Disney was unable to offer immediate comment.

Indeed, the topic of pricing for streamers is a hot one in this year’s market, according to multiple media buyers, who have been eager to drive down what is known in the business as the cost of reaching 1,000 viewers, a measure known as a CPM that is central to these talks. Executives familiar with early discussions there is pressure in early conversations for CPMs are expected to dip as much as 3% for less-valued inventory on linear TV and in streaming. Meanwhile, CPMs could rise as much as 5% for properties that generate more interest, typically tied to sports.

The culprit? A glut of new streaming inventory that is available thanks to the rise of ad-supported tiers from Netflix, Warner Bros. Discovery’s Max, Disney’s Disney+, and, in particular, Amazon Prime Video.

Executives say it’s unclear what advertiser budgets look like for the current market, with only some marketers registering available volume. Last year’s market didn’t truly get underway until mid June.

If media companies like Disney, Fox and NBCUniversal agree, it will mark the second consecutive upfront in which the TV networks ceded such ground to their ad base. Ad commitments in last year’s upfront market for primetime broadcast TV fell 3%, to $9.595 billion, compared with $9.91 billion in 2022, according to Media Dynamics Inc., an advertising consultancy that tracks the market. Cable TV saw even worse erosion, with advertisers committing $9.52 billion for primetime, down 7% compared to the $10.23 billion in commitments secured in 2022.
 
https://finance.yahoo.com/news/warn...aises-prices-for-ad-free-plans-155921511.html

Warner Bros.' Max streaming service raises prices for ad-free plans
Alexandra Canal · Senior Reporter
Tue, Jun 4, 2024, 10:59 AM CDT

Warner Bros. Discovery (WBD) announced plans on Tuesday to raise the price of its ad-free plans on its streaming service, Max.

Effective immediately for new subscribers, the monthly ad-free plan will increase by $1 to $16.99 a month while the annual ad-free plan will rise by $20 to $169.99 yearly.

The ultimate ad-free tier, which allows four concurrent streams and 4K streaming options, will increase by $1 to $20.99 a month. The corresponding yearly plan will increase by $10 to $209.99 a year.

The ad-supported plan will remain the same at $9.99 a month.

The price hikes come just over a year after the company merged its HBO Max and Discovery+ streaming services to create Max. The announcement also comes just ahead of the second season of Warner Bros.' blockbuster "Game of Thrones" prequel, "House of the Dragon," which is scheduled for release on June 16.

Streaming companies have been aggressively raising their prices in response to various profitability challenges — much to consumers' chagrin. Ad-free plans have become a primary target of these increases as platforms attempt to increase viewership and engagement on newly launched, ad-supported platforms.

Virtually all of the major streaming companies raised the cost of their respective services throughout the course of last year, a trend that has continued in 2024.

Comcast's (CMCSA) flagship streaming service, Peacock, recently announced price hikes that will come in July, just ahead of the 2024 Paris Olympics, after it upped prices for the first time last summer.
 
https://finance.yahoo.com/news/warn...aises-prices-for-ad-free-plans-155921511.html

Warner Bros.' Max streaming service raises prices for ad-free plans
Alexandra Canal · Senior Reporter
Tue, Jun 4, 2024, 10:59 AM CDT

Warner Bros. Discovery (WBD) announced plans on Tuesday to raise the price of its ad-free plans on its streaming service, Max.

Effective immediately for new subscribers, the monthly ad-free plan will increase by $1 to $16.99 a month while the annual ad-free plan will rise by $20 to $169.99 yearly.
I'm glad we recently took their offer of one year for $104.99.
 

Won't be long that only ad-supported viewing will be available. That's where the money is. Five years or less, is my prediction.
Hmmm, I'll bet against that. I think the streaming companies will always offer a premium ad-free tier.
 
https://www.latimes.com/entertainme...aramount-announces-business-plan-and-job-cuts

Paramount Global unveils business plan and job cuts as sale looms

Story by Meg James - Senior Entertainment Writer
June 4, 2024 9:10 AM PDT

Despite the potential sale of Paramount Global, controlling shareholder Shari Redstone kicked off the company’s annual investor meeting Tuesday by expressing confidence in its new management structure and hinting at more cost cuts to come.

But because any sale is months away from completion, Paramount’s recently installed “office of the CEO” — comprising division heads George Cheeks, Brian Robbins and Chris McCarthy — mapped out a “going forward” strategy to run Paramount as a standalone entity and improve its battered balance sheet.

The trio unveiled a plan that centers on $500 million in cost cuts — including an undisclosed number of layoffs — selling assets, and exploring a joint venture for the company’s Paramount+ streaming service.

Years of underinvestment, mismanagement, titanic shifts in audience behavior, the COVID-19 pandemic and a costly push into streaming have diminished its standing. Its once vibrant cable channels, including Comedy Central, MTV and Nickelodeon, have dimmed in reputation and ratings. Exacerbating its debt issues, Bakish passed up opportunities to sell assets, including Showtime and BET.

S&P Global downgraded Paramount’s credit to “junk” status earlier this year. Investor Warren Buffett bolted, selling shares at a loss. Last month, he acknowledged that buying 63 million shares of Paramount stock was a mistake.

Paramount executives declined to answer questions about its sale talks with David Ellison’s Skydance Media, which have accelerated in recent days.

The deal would include $4.5 billion to buy out non-voting B-class stockholders at $15 a share during a second phase of the transaction. There would also be a $1.5-billion cash infusion to shore up Paramount’s balance sheet and help reduce debt, according knowledgeable people.

The Skydance proposal would give the Redstone family more than $2 billion for their holding company National Amusements Inc. and its voting shares in Paramount. The infusion would allow the family to pay off National Amusements’ debts and come away with about $1.8 billion, according to a person familiar with the matter who was not authorized to comment.
 
https://www.wsj.com/business/media/...or-media-and-sports-4e8d762c?mod=hp_lead_pos2

NBA Nears $76 Billion TV Deal, a Defining Moment for Media and Sports
Advanced talks with NBC, Amazon and ESPN spotlight the staggering value of sports rights and could portend industry changes

By Joe Flint, Amol Sharma and Isabella Simonetti
Updated June 5, 2024 - 8:37 am EDT

The National Basketball Association entered its first TV negotiations in a decade with a problem: Its main business partners seemed to be on shaky footing.

TNT parent Warner Bros. Discovery WBD was saddled with more than $40 billion in debt, while ESPN parent Disney was battling a Wall Street activist over its slumping stock. Each company was reluctant to pony up the full premium the league wanted. But the NBA had quietly laid the groundwork with two other potential partners, Amazon and NBC, who pounced as soon as they got the chance.

Now, with negotiations ongoing as the Boston Celtics and Dallas Mavericks prepare to face off in the NBA Finals, the league is on track to score big: It is closing in on deals with NBC, ESPN and Amazon that would bring in about $76 billion in media revenue over 11 years, people familiar with the discussions said.

The NBA sweepstakes has turned into a defining moment for the TV industry, highlighting the anxieties of traditional media companies about the collapse of cable and their uncertain financial futures in the streaming world. It has put front-and-center the paradox that sports content is outrageously expensive but also critical to own in an industry in which it is one of the few reliable ways to draw in audiences.

“Entertainment is a swamp, and sports is the only firm ground,” said former Fox Sports chief David Hill.

NBC is near an accord with the league to pay an average of $2.5 billion a year, people familiar with the deal talks said. It would show around 100 games per season, with about half airing exclusively on the Peacock streaming service, reflecting a major bet on the future of streaming. Games would air on NBC on Tuesdays and Sundays when there isn’t a conflict with NBC’s “Sunday Night Football.”

Amazon’s $1.8 billion-a-year package would include regular-season and playoff games, the new NBA in-season tournament, and the “play-in” games in which teams compete for the final playoff spots. It also would have a share of the conference finals, which the media partners will split in a rotation, the people familiar with the terms said.

Disney would retain an NBA package and would continue to air the NBA Finals, with payments averaging about $2.6 billion a year, people familiar with the terms say, up from $1.5 billion under the current deal. Disney would get fewer games than under its current deal. ESPN’s deal will allow the company to air games on its direct-to-consumer streaming service, which is set to launch in 2025.
Warner, led by Chief Executive David Zaslav, still has a right to match a rival package, and the league could always carve out a new package for the company in the final stretch, but its options are limited.

The deals would go into effect after the 2024-2025 season and will include rights to WNBA telecasts, as that league grows in popularity with the rise of rookie sensation Caitlin Clark. Owners must approve the deals, and any announcement could still be a few weeks away.

The deals are clarifying the media industry’s pecking order and could set the table for big mergers down the road. For the league, the deals would translate into a windfall that will help fund blockbuster contracts for stars like Jayson Tatum and Luka Doncic in the coming years.

The NBA is on track to increase its annual fees by more than 2.5 times under the new deal, to an average of nearly $7 billion. The NFL roughly doubled its fees under its last deal to around $10 billion a year. The NBA has much lower average ratings than the NFL, but it has more games and a young audience that is important to advertisers. It is very popular abroad, which is a big motivator for Amazon’s Prime Video.

“Yes, there’s risk at these fee levels given recent ratings, but they are also looking at the downside of the games being on competing services. Which is worse?” said Brent Magid, CEO of media consulting firm Magid.

Bringing in Amazon

TNT and ESPN each had a chance to renew their NBA deals in a monthslong negotiating period that ended April 22. Though the negotiations during that time were supposed to be exclusive, the NBA had the networks’ blessing to reach out to Amazon to put together a streaming package, people familiar with the talks said.

Adding a streamer to the mix, and shifting some games out of the TV packages, was an obvious way to hold down costs for ESPN and TNT. And for streamers, just like TV networks, sports have become an anchor to help bring in subscribers.
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By the time Disney CEO Bob Iger met NBA Commissioner Adam Silver at a mid-April event hosted by veteran media mogul Jeffrey Katzenberg in Montecito, Calif., the two sides were each clear that ESPN would wind up remaining a league partner, people familiar with the situation said.

The situation was different at Warner. The company had a chance to commit around $2.2 billion a year for a deal but walked away, unhappy with the price relative to the value of the package, say people close to the talks.

In Warner’s view, the league has taken too much valuable content, including playoff games and the play-in tournament, out of its potential package to put in Amazon’s.

When the April 22 deadline passed, Amazon already had the outlines of its deal in place. Comcast’s NBCUniversal, meanwhile, had long ago signaled that it was interested. The company quickly submitted a $2.5 billion-a-year bid for the TNT package. The parties spent weeks haggling over details—NBC wanted the Finals but fell short.

NBC’s coming cuts

Executives inside NBCUniversal differ over the wisdom of the deal, with some saying spending so much on the NBA is a bad idea and others saying it will supercharge NBC’s streaming business. The long-term value of NBA rights will hinge partly on how many subscribers Peacock is able to sign up.

Pricing is also a factor: NBC would likely raise prices for Peacock once it has the NBA, a person familiar with the planning said, to boost revenue as sports costs grow.

NBC entertainment executives are bracing for significant budget cuts. NBC won’t need as much prime-time entertainment content, with the NBA taking that real estate a few days a week, and Peacock’s original content budget will likely be reduced significantly, entertainment executives said.

Other potential areas to mine for savings include Peacock’s content deals for movies and TV shows with the Universal studio.
NBC, which aired NBA games in the 1990s, is angling for the media rights once again.

The potential deal has created some tensions between the units overseen by Mark Lazarus, chairman of the NBCUniversal Media Group, which is leading the NBA charge, and Donna Langley, who oversees movie and television entertainment in her role as chairman, NBCUniversal Studio Group and chief content officer, people familiar with the situation said.

The company envisions that the NBA will ultimately help Peacock, which lost $639 million in the most recent quarter, on its path to profitability.

Beyond the financial benefits, taking the NBA away from TNT would weaken an NBC competitor and in so doing, deal a blow to Venu Sports, a sports-streaming venture being planned by Warner, Fox and Disney.

‘They screwed this thing up’

Warner’s Zaslav, whose rocky tenure has been marked by steep cost cuts and a sliding stock price, faced a quandary in the NBA talks.

Without those broadcasts, the company’s TNT network, which has counted on basketball to drive ratings and revenue since 1988, could take a major hit. Cable distributors likely wouldn’t be willing to pay as much to offer TNT. When The Wall Street Journal first reported NBC’s $2.5 billion-a-year bid on April 29, Warner’s shares fell about 10%.

But Zaslav and his top lieutenants calculated that the ratings performance of the NBA on TNT didn’t justify a major increase in fees for a smaller package of games, say people close to the company.

Zaslav maintains that Warner can match either NBC or Amazon’s deal. Enforcing those rights might require a legal battle, and Warner might wind up paying a higher sum than it passed up in April.

“Turner decided they wanted to take a risk with an auction,” said Patrick Crakes, a sports media consultant and former senior executive at Fox Sports. “That made the rights more expensive.”

Warner is already plotting how to use the potential savings from not being an NBA partner to buy other sports content. It recently cut a deal with Disney’s ESPN to sublicense some college football playoff games. Warner executives note that TNT also has rights to NASCAR, the National Hockey League, Major League Baseball and the March Madness college basketball tournament.

Warner would relish the opportunity to acquire CBS from Paramount Global as that company explores a sale that could eventually result in asset sales, say people familiar with the situation. That would help Warner consolidate ownership of March Madness, which it now splits with CBS, and it would make Warner a partner of the NFL.

The departure of the NBA would be a huge blow to the people involved in producing the games for TNT and the content that surrounds it, including the acclaimed show “Inside the NBA,” which features retired stars Charles Barkley, Shaquille O’Neal and Kenny Smith.

“These people I work with—they screwed this thing up, clearly,” Barkley said on “The Dan Patrick Show,” referring to company leaders involved in the NBA talks as “clowns.”

He criticized Zaslav’s remark at an investor conference in November 2022 that the company didn’t need the NBA to prosper. “Well, he don’t need it. But the rest of the people … who work here, we need it,” Barkley said.

Write to Joe Flint at Joe.Flint@wsj.com, Amol Sharma at Amol.Sharma@wsj.com and Isabella Simonetti at isabella.simonetti@wsj.com
 
https://finance.yahoo.com/news/disney-emea-business-posts-570-174757484.html

Disney’s EMEA Business Posts £570.98 Million Profit for 2023, Driven by Disney+ and Strong Film Performance
by Lucas Manfredi
Wed, Jun 5, 2024, 12:47 PM CDT

The Walt Disney Company Limited, which oversees the entertainment giant’s Europe, Middle East and Africa business, posted a profit of £570.98 million and turnover of £3.8 billion between Oct. 2, 2022 and Sept. 30, 2023.

The increase was driven primarily by Disney+ and a strong performance in motion pictures during the period, offset by a downside in licensed content distribution. Titles released during the period included “Elemental,” the live-action remake of “The Little Mermaid” and new seasons of “The Bear” and “The Kardashians.

The figures, which were disclosed in a new report filed with U.K. business registrar Companies House on Monday, mark an increase from the £401.69 million profit and £3.13 billion turnover reported for the prior year period.

Turnover includes television licensing, royalties received from character merchandising and publications, subscriptions and advertising revenue related to TV broadcasting, film distribution revenue, sale of home entertainment products, theatrical productions, direct-to-consumer subscription based video streaming service, the sale of vacation packages, inter-company EMEA operating fees for commercial exploitation of its intellectual properties and other ancillary activities.

The U.K. & Ireland accounted for £1.09 billion of turnover, while the rest of Europe made up £2.5 billion and the rest of the world made up $195.19 million.

£3.3 billion of Disney EMEA’s turnover came from television, streaming, film distribution, theatrical productions and IP development and exploitation divisions, while the remaining £526 million came from its experiences, including character merchandising and publications and vacation packages.
 
https://www.msn.com/en-ae/money/companies/paramount-s-rival-bidders-include-the-patr%C3%B3n-tequila-billionaire/ar-BB1nHYt

Paramount’s Rival Bidders Include the Patrón Tequila Billionaire
Story by Christopher Palmeri
June 5, 2024

(Bloomberg) -- John Paul DeJoria, the billionaire co-founder of Patrón tequila and Paul Mitchell hair care products, is among the deep-pocketed investors who’ve made a bid to take over Paramount Global.

DeJoria, who sold Patrón to Bacardi Ltd. for $5.1 billion in 2018, wants a chance to redirect the news coverage at Paramount’s CBS network, he said in an interview.

“There is not one news station that’s non-political,” DeJoria said. “I can promote positive information on their stations. It’s a wonderful thing to be able to be a positive influence on everybody.”

DeJoria is part of a group of investors led by film producer Steven Paul that’s made an offer for National Amusements Inc., the Redstone family holding company that owns 77% of Paramount’s voting stock.

Paul’s group has at least five very wealthy investors behind it. They’re being advised by Rockefeller Capital Management, said the people, who asked to not be identified discussing terms that haven’t been made public.

Part of the Paul group’s pitch is that, unlike Ellison’s offer, their deal doesn’t involve a merger with another business. Ellison plans a multipart takeover of Paramount that includes merging his Skydance Media into the company at a $4.75 billion valuation.

A number of Paramount investors have objected to a deal that would see the Redstones bought out at a premium, while other shareholders face dilution.

Paul has a long list of film credits that include the 2017 Scarlett Johansson sci-fi picture Ghost in the Shell and the Baby Geniuses series about a group of super-intelligent talking babies.
 
https://www.msn.com/en-ae/money/companies/paramount-s-rival-bidders-include-the-patr%C3%B3n-tequila-billionaire/ar-BB1nHYt

Paramount’s Rival Bidders Include the Patrón Tequila Billionaire
Story by Christopher Palmeri
June 5, 2024

(Bloomberg) -- John Paul DeJoria, the billionaire co-founder of Patrón tequila and Paul Mitchell hair care products, is among the deep-pocketed investors who’ve made a bid to take over Paramount Global.

DeJoria, who sold Patrón to Bacardi Ltd. for $5.1 billion in 2018, wants a chance to redirect the news coverage at Paramount’s CBS network, he said in an interview.

“There is not one news station that’s non-political,” DeJoria said. “I can promote positive information on their stations. It’s a wonderful thing to be able to be a positive influence on everybody.”

DeJoria is part of a group of investors led by film producer Steven Paul that’s made an offer for National Amusements Inc., the Redstone family holding company that owns 77% of Paramount’s voting stock.

Paul’s group has at least five very wealthy investors behind it. They’re being advised by Rockefeller Capital Management, said the people, who asked to not be identified discussing terms that haven’t been made public.

Part of the Paul group’s pitch is that, unlike Ellison’s offer, their deal doesn’t involve a merger with another business. Ellison plans a multipart takeover of Paramount that includes merging his Skydance Media into the company at a $4.75 billion valuation.

A number of Paramount investors have objected to a deal that would see the Redstones bought out at a premium, while other shareholders face dilution.

Paul has a long list of film credits that include the 2017 Scarlett Johansson sci-fi picture Ghost in the Shell and the Baby Geniuses series about a group of super-intelligent talking babies.
I think I am liking this one, they could create a whole new bundle - Paramount + and the Tequila of the Month Club! Paramount would lower churn too, because everyone would forget to cancel it. :drinking1
 
https://www.nytimes.com/2024/06/07/opinion/paramount-shari-redstone-skydance-apollo-sony.html

The Slow Death of a Fabled Media Empire
June 7, 2024, 5:04 a.m. EDT
By William D. Cohan
Mr. Cohan is a founding partner of Puck and a former Wall Street banker.

“60 Minutes.” MTV. “The Daily Show.” The future of some of America’s most recognized cultural icons is unknown as the fate of their owner, the Hollywood and media conglomerate Paramount Global, hangs in the balance.

Paramount may be on the verge of being sold, its prospects uncertain. Maybe the possibility of its demise isn’t worth lamenting.

Maybe we should just crown Netflix the new king of Hollywood. Perhaps the sources of our next cultural touchstones are to be found on TikTok, Instagram Reels and YouTube, and not in the maze-like corridors of the CBS Broadcast Center on West 57th Street or in Paramount Pictures’ 65-acre Melrose Avenue lot.

Because Paramount Global’s ownership structure gives all power to its largest voting shareholder, the company’s future comes down to the whims of just one person: the 70-year-old heiress Shari Redstone. She chose to put Paramount on the block, and she alone is deciding between a buyer whose strategy could very well further weaken, or kill, these cultural icons — and one that at least allows for some hope of a creative revival. She could, of course, reject both options, and try to maintain what’s left of the status quo. Is this how we want our cultural future to be decided?

One of the two suitors for Paramount is a partnership between Sony Pictures Entertainment and Apollo Global, the alternative asset management behemoth, which wants to break the company up into its component parts and sell many off. That would probably result in new owners for CBS, Showtime, Paramount+, MTV and Comedy Central, risking the already tenuous futures of a set of businesses that would most likely get milked for their cash flow with little capital reinvestment. (Though it’s also possible they could flourish with new ownership.)

The hope in this fragile equation is that the other potential buyer, a partnership between David Ellison and his financial backers, will find a way to revive Paramount’s cultural and financial influence with a new management team and a new strategy. The group, which includes RedBird Capital and KKR, has offered to pay Ms. Redstone a big premium to get voting control of Paramount (leaving other shareholders with only a small fraction of the compensation she’s getting). It would then have Paramount buy Skydance Media, the group’s movie production company, and combine it with the Paramount studio to reap the “synergies.”

That complex deal promises the chance — but hardly the certainty — for a creative and economic revival of Paramount. Last week, the Ellison/RedBird deal won the backing of the special committee of the company’s board, and now it’s up to Ms. Redstone, at her sole discretion, to decide whether to accept it. Then, of course, doing nothing is also an option she could choose.

The relentless deal-making, over decades, that led to the creation of Paramount Global has taken a toll. Once innovative and wildly profitable businesses, such as CBS and MTV, are struggling financially. Morale is low as the sale process drags on. “The inability to come to any decision feeds high anxiety,” one longtime Paramount producer wrote me. Ms. Redstone’s conundrum of whether to sell the company, or not, is only possible due to the decades of wheeling and dealing by her father that made the Redstones one of America’s most powerful media families.

In 1987, Sumner Redstone was a little-known but audacious movie theater operator in Boston when he bought Viacom, the owner of a group of TV and radio stations along with MTV, Nickelodeon and Showtime. Over the ensuing two decades he would go on to gobble up the revered Paramount movie studio (a deal I worked on while I was at Lazard); Blockbuster, the video store giant; and CBS, in one of the biggest media mergers of the 20th century. In 2005, he bought DreamWorks SKG, the Hollywood studio founded by Steven Spielberg, Jeffrey Katzenberg and David Geffen. Regulators never tried to stop Mr. Redstone, presumably because there were always bigger competitors, such as Disney, or G.E., or Comcast, that also were allowed to grow without opposition from Washington.

Hollywood stars flocked to Mr. Redstone’s Beverly Park mansion in Los Angeles and to Dan Tana’s, his favorite restaurant. By granting access to CBS, or Showtime, or Paramount, or MTV or Comedy Central, Mr. Redstone had the power in Hollywood and in Manhattan to make others rich and famous. What made it all work was his attention to detail, his faith in his executives, and his willingness to wield the law (and his Harvard Law degree) as a weapon.

He loved the fight. He once got so angry at two of his direct reports that he ended up spitting out a tooth. “It’s like ‘Apocalypse Now,’” Tom Dooley, Viacom’s chief operating officer at the time, said in 2012. “He loves the smell of napalm in the morning.”

But as he aged, Mr. Redstone made mistakes. He stuck with executives for too long and paid them too generously. His two young girlfriends appeared to control too much of his life. He was late to opportunities, such as streaming, and let others slip away, like the chance to buy Marvel Entertainment. He temporarily barred Tom Cruise from the Paramount lot because he thought Cruise’s devotion to Scientology was hurting business.

As her father’s health deteriorated, Shari Redstone exerted greater and greater control — even though her dad for many years made it known that he didn’t want her involved with the business. After Mr. Redstone died, in 2020, at age 97, she took full legal control of Paramount and set about cleaning house, with new management and new boards of directors, loyal to her.

It hasn’t worked out as Ms. Redstone planned. While she was consolidating her power, Netflix and Apple were innovating and Disney, Comcast and Amazon were getting more formidable. The company she’s putting on the block seems forlorn at best. CBS and the cable channels are in a steep decline amid the rise of streaming, while its own streaming service Paramount+ lost more than $1.6 billion in 2023.

Putting the company up for sale seems only to have hastened Paramount’s decline. In late April, Ms. Redstone tossed out her longtime loyal chief executive, Bob Bakish, in the middle of the sale process, a rare event for sure, and replaced him with three co-chiefs, an even rarer phenomenon. Four board directors quit without explanation. Other potential deals, such as offers to buy Showtime and Paramount+, were passed up either because the prices was deemed too low by management or were never presented by management to the board to be considered. Through it all, Paramount’s market value has dwindled to around $9 billion — down a miserable 90 percent — and the value of the Redstone stake in the media empire has dwindled along with it.

At the annual shareholder meeting on Tuesday, Ms. Redstone praised the performance of her three co-chief executives, who proceeded to lay out their vision for how they would operate Paramount as it is, bolstering at least momentarily the idea she will decide not to sell the company.

What’s been lost in the nearly 40 years of the Redstones’ inveterate deal-making, in addition to enormous shareholder value, are any number of important cultural touchstones that CBS and Paramount once developed and nurtured, like MTV, like CBS News, like all the immense talent that once made Comedy Central iconic.

That happens, of course, as tastes and mores evolve decade after decade. But these losses seem more like self-inflicted wounds that could have been avoided under different stewardship. In sum, the family’s forays into Hollywood as well as into broadcast and cable television have proven to be pretty much an ego-driven failure.

https://www.nytimes.com/2024/04/04/...type=Article&action=click&module=RelatedLinks
 
https://www.yahoo.com/news/congress-details-collusion-consumer-privacy-172438555.html

Congress Details Collusion and Consumer Privacy Concerns Over Venu Sports Streaming Venture in New Letter
by Lucas Manfredi
Fri, June 7, 2024 at 12:24 PM CDT·

Congressmen Jerry Nadler and Joaquin Castro have sent a follow-up letter to Venu Sports partners Warner Bros. Discovery, Fox and Disney seeking more information on the bundle’s impact on access, competition and choice in the sports streaming market.

The follow-up letter comes after TheWrap exclusively reported that lawmakers’ concerns were not satisfied after their staff met with representatives from the media giants on March 31.

The new letter asks for answers to seven questions no later than June 21 and asked that the Department of Justice be copied on the responses.
 
https://www.wsj.com/business/media/...-controls-paramount-ccad92be?mod=hp_lead_pos2

Edgar Bronfman Eyes $2 Billion-Plus Bid for Company That Controls Paramount
Bronfman, backed by Bain Capital, has expressed interest in Shari Redstone’s National Amusements, which is already in advanced negotiations to sell to Skydance Media

By Lauren Thomas, Jessica Toonkel and Jeffrey A. Trachtenberg
June 10, 2024 - 11:31 am EDT

Former media executive Edgar Bronfman Jr., backed by private-equity firm Bain Capital, has expressed interest in buying the company that controls Paramount Global, marking yet another twist in one of the messiest deal dramas in recent memory.

Bronfman, who formerly ran Warner Music and liquor giant Seagram, is looking to offer between $2 billion and $2.5 billion for National Amusements, the privately held movie-theater company through which Shari Redstone controls Paramount Global, according to people familiar with the situation.

Bronfman’s interest comes as Redstone is in advanced negotiations to sell a majority stake of National Amusements to Skydance Media. Paramount, which owns the iconic movie studio, broadcaster CBS and cable networks including Nickelodeon, Comedy Central and MTV, would then merge with Skydance, a production company run by David Ellison.

Meanwhile, Hollywood producer Steven Paul has been lining up financing to make an offer for National Amusements of around $3 billion, The Wall Street Journal reported.

It is unclear how seriously the Redstone family will entertain other offers for National Amusements while negotiations with Skydance continue, and whether other potential bidders can arrange the necessary financing.

A sale of NAI would mean that Paramount would have a new controlling shareholder, while the Skydance deal, as it is being discussed now, would give non-Redstone Paramount shareholders the opportunity to cash out at a premium to where the stock is trading.

Under the terms of the deal with Skydance being discussed, Skydance and its backers, which include RedBird Capital Partners and Ellison’s father, Oracle co-founder Larry Ellison, will put $1.5 billion on Paramount’s balance sheet, which it can use to pay down debt.

The deal provides for another $4.5 billion to buy out about 50% of nonvoting shares at $15 each and offer non-Redstone voting shares $23 a piece, or roll into the new company.

Advisers for National Amusements, Paramount and Skydance were negotiating throughout the weekend on the final hurdles to a deal, including how to handle potential shareholder lawsuits, some of the people close to the situation said.

Some investors have been critical of how the Redstones and Paramount have navigated the sales process. National Amusements has a 77% voting stake in Paramount.

Laura Cooper contributed to this article.

Write to Lauren Thomas at lauren.thomas@wsj.com, Jessica Toonkel at jessica.toonkel@wsj.com and Jeffrey A. Trachtenberg at Jeffrey.Trachtenberg@wsj.com
 
https://finance.yahoo.com/news/warner-bros-discovery-big-loss-130000928.html

Warner Bros. Discovery’s ‘Big Loss’ of the NBA Would Weaken its Venu Sports Contribution

by Lucas Manfredi
Mon, Jun 10, 2024, 8:00 AM CDT

Warner Bros. Discovery’s NBA rights are hanging in the balance as the league continues negotiations for media deals collectively worth more than $76 billion.

If the David Zaslav-led media giant loses the NBA, the company’s ad revenue could plummet about $270 million a year, and its TNT subsidiary could see a 45% decline in affiliate fees, Citigroup analyst Jason Bazinet estimated.

But Venu Sports — the company’s new joint streaming venture with Disney and Fox — likely would suffer less, since the platform could fill programming gaps with other sports.

Three insiders close to the venture said the outcome of NBA negotiations would not impact the offering’s launch, which is on track for the fall, subject to regulatory approval and final agreements with the parties. Under terms that run through the 2024-2025 season, ESPN pays the NBA about $1.4 billion annually while WBD pays about $1.2 billion.

Venu is already limited because it will be missing sports available on NBC and CBS, and a growing number of games are moving to platforms like Amazon’s Prime Video and Netflix.

“The more major sports that are missing, the less compelling the bundle is because avid fans would need to add other standalone platforms,” Hub Entertainment Research founder Jonathan Giegengack told TheWrap.

As Venu will still offer NBA games through ESPN and ABC, losing the league would weaken WBD’s contributions to the service.
 
https://www.hollywoodreporter.com/tv/tv-news/the-acolyte-ratings-disney-plus-premiere-1235918703/

‘The Acolyte’ Gives Disney+ Its Best Series Opening of 2024
The 'Star Wars' show falls short of 'Ahsoka's' opening numbers from last year.

June 10, 2024 - 10:30am PDT - by Rick Porter

A substantial number of Disney+ users followed The Acolyte over its first few days on the streamer.

Disney+ says the Star Wars series recorded the biggest opening for a show on the streamer so far this year, with the premiere episode recording 11.1 million views — i.e., the equivalent of that many complete showings of the 42-minute episode — worldwide over five days. (That equates to about 426.2 million minutes, or 7.77 million hours, of watch time.)

The Acolyte fell somewhat shy of the most recent Star Wars series premiere on Disney+: Ahsoka drew 14 million views over its first five days in August 2023. It’s on par with the debut of Percy Jackson and the Olympians in December, which had 13.3 million views over six days — which works out to about about the same daily average (2.22 million views) as that of The Acolyte over five days.
 
https://www.hollywoodreporter.com/b...amount-co-ceo-severance-bonus-pay-1235918983/

Paramount Co-CEOs Secure Change-In-Control Pay Plans, Granted Cash Bonuses in Connection to Promotion

Brian Robbins, Chris McCarthy and George Cheeks will each be eligible for enhanced severance if and when Paramount sells, and will be eligible for an expanded bonus in connection with their promotions.

by Alex Weprin
June 10, 2024 - 1:47pm PDT

The future of Paramount Global remains uncertain, but the co-CEOs of the company will be just fine however things shake out.

On Monday, Paramount filed with the SEC some compensation details for its new co-chief executives, including the critical detail that all three are now participants in the “Paramount Global Executive Change in Control Severance Protection Plan.”

All three men also received a cash bonus under the company’s short-term incentive plan of $2,750,000, which will be prorated to their service as co-CEOs.

The change-in-control plan is designed to provide enhanced severance in the event of a sale or other change in control event. The plan includes a pro-rata portion of their target performance bonus, and a 2X multiple of their annual salary, as well as other benefits.
 
https://www.hollywoodreporter.com/t...ominates-cable-tv-ratings-2023-24-1235918907/

What Cable TV Would Look Like Without Sports

During the 2023-2024 season, by one measure, major league games captured nine of the top 10 spots and 12 of the top 20 among primetime cable shows.

June 10, 2024 - 2:25pm PDT
by Rick Porter

Nielsen’s seven-day ratings for the 2023-24 TV season show sports dominating the top of the rankings among all viewers and the key ad-sales demographic of adults 18-49. In total viewers, live sports telecasts — led by ESPN’s Monday Night Football with 7.38 million viewers (not including simulcasts on ABC) — capture nine of the top 10 spots and 12 of the top 20 among primetime cable shows, counting titles with at least three telecasts. NBA playoffs coverage on ESPN and TNT, Major League Baseball’s postseason and the NCAA women’s basketball tournament all rank in the top 10.

It’s not until the No. 10 spot that a non-sports show, History Channel’s The Curse of Oak Island, shows up. Three more sports programs come ahead of the second non-sports show in the top 20, Hallmark‘s When Calls the Heart. News programming takes four of the final six spots.

Removing sports from the ledger puts The Curse of Oak Island and When Calls the Heart in the top two spots, but their viewer averages — 3.14 million and 2.77 million — are less than half of the top sports events. (For comparison, those two shows would rank 75th and 83rd among broadcast network series in 2023-24.) Primetime shows on Fox News and MSNBC hold six of the top 20 slots, with the rest distributed among History, Hallmark, TLC, Discovery, HGTV, USA and Bravo.
 
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https://www.wsj.com/business/media/...sions-with-skydance-1b81985b?mod=hp_lead_pos1

Redstone’s National Amusements Ends Discussions with Skydance
Redstone likely to pursue sale of National Amusements, the family company that controls Paramount, with other potential bidders

By Jessica Toonkel
Updated June 11, 2024 - 3:41 pm EDT

Shari Redstone isn’t ready to exit the entertainment business just yet.

The media heiress has ended discussions with David Ellison’s Skydance Media, according to people familiar with the matter, drawing to a close months of negotiations in one of the messiest deal dramas to play out in recent years
 














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